John C. Frederiksen’s Men Into Space, written as a companion book to the 1959 science fiction television series, is a bit of a disappointment. While the opening chapters on the cast and crew are well-written and informative, 90 percent of the book consists of episode summaries, which offer only plot summaries, narration, and some selected dialogue. I would have expected some behind-the-scenes background information on each episode. So if you’re viewing these episodes on DVD, the book offers nothing beyond what you’ve just watched, rendering this large portion of the book superfluous. ( )

KIRKUS REVIEWS, May 2012
A pioneering Latin actor chronicles his life on and off the stage and screen.
Sometimes acting is heart and soul; other times it’s technique. Henry Darrow says he’s given himself over to both, but, perhaps more pointedly, he embraces his roles as work. This “lightning in the bottle” was so dubbed because of his obvious love of labor, as well as his renowned versatility and resilience in the professional and personal realms. His satisfaction in acting derives not only from starring roles, but also from the so-called little parts. The tenacity to “out perfectionist nearly anyone” helped him become the first actor of Puerto Rican heritage to star in a TV series. That gig on “The High Chaparral” was preceded by a 10-year personal climb, an ascension attentively recounted in the first third of the book. The middle section is even more detailed, covering various aspects of the western series that catapulted him to fame. The final third covers his life post-“Chaparral,” including not only his TV roles, but also his role as an activist promoting Latinos in the industry. Darrow and Pippins skillfully intersperse the historical context with thoughtful analyses and often-lighthearted vignettes regarding various gigs and circumstances. Darrow’s contemplation of an Anglo name change, for example, is managed amusingly; however, the deeper subject of ethnic identity is treated with focused consideration. The authors adeptly blend such identity issues with the broader entertainment landscape in which, ironically, Darrow’s career direction was partially the result of the western genre’s decline and a backlash against violent programming. Nonetheless, the biography’s unfolding often reflects Darrow’s penchant for performance. The collection of his quotes can sometimes seem less than remarkable, although a train of thought regarding emotion is particularly inspiring… An entertaining, well-organized account... ( )